Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Tajikistan and from Bologna.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1966 to 1972.
I'm losing my edge.
To all the kids in New York and London.
I'm losing my edge to the art-school Salvador kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1968 at the first Bowie practice in a loft in Bromley.
I was working on the clarinet sounds with much patience.
I was there when Tom Verlaine started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The Five Americans to the rap kids.
I played it at Trash.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Faust. All the underground hits.
All JFA tracks. I heard you have a vinyl of every Unrelated Segments record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Clear Light,
Alison Limerick,
Roy Ayers,
Parry Music,
Crash Course in Science,
Iggy Pop,
Heavy D & The Boyz,
The Moody Blues,
Swell Maps,
Echospace,
The Dirtbombs,
Mark Hollis,
Roger Hodgson,
Bobby Byrd,
Magazine,
The Pop Group,
The Star Department,
Glambeats Corp.,
The Knickerbockers,
Bang On A Can,
Manfred Mann's Earth Band,
Stetsasonic,
Young Marble Giants,
Schoolly D,
the Slits,
Liliput,
Gil Scott Heron,
Kevin Saunderson,
Niagra,
Nas,
Eli Mardock,
Wighnomy Brothers & Robag Wruhme,
U.S. Maple,
The Raincoats,
Faraquet,
Notorious BIG live in Amsterdam,
Ituana,
Skaos,
Carl Craig,
Arthur Verocai,
Mo-Dettes,
The Mojo Men,
The Angels of Light,
Donald Byrd,
Wally Richardson,
Make Up,
Marc Romboy vs. Booka Shade,
X-Ray Spex,
Scion,
Dual Sessions,
Pantytec,
Lizzy Mercier Descloux,
Bill Wells,
Television,
Minny Pops,
FM Einheit,
The Fall,
Jesper Dahlbäck,
Japan,
Radiopuhelimet,
Unwound, Unwound, Unwound, Unwound.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.